The Criterion Collection
Production Notes
Jan 25, 2017 — 1. Senegalese master Ousmane Sembène was already a celebrated novelist before becoming a filmmaker. His decision to direct was fueled by his recognition of cinema as a “political tool,” one that could rally the masses against a depicted social injustice,...
Essays
Apr 25, 2011 — Brian De Palma brought hip, freewheeling funkiness to the American film renaissance of the late 1960s and early 1970s. Wised-up, cinema-savvy audiences across the country knew to seek out his movies for their scruffy wit, showmanship, and aesthetic innovation, not...
Jan 12, 2010 — 8½: a bizarre and puzzling title, but one precisely appropriate for this film, which announces in its first frame that modernism has reached the cinema. If the mark of modernism in art is self-reference, 8½ surely goes beyond any predecessor...
Essays
Mar 10, 2003 — Vilgot Sjöman’s cultural-sexual sensation sparked much critical and popular mayhem, only to be consigned to nearly instantaneous oblivion.
Essays
Oct 2, 2000 — The most important of Brian De Palma’s earlier features, Greetings (1968) and Hi, Mom! (1970), resist the commodification of entertainment while charting the development of Jon Rubin (Robert De Niro) from voyeur to filmmaker to urban guerilla. If pictures like...
Essays
Nov 22, 1999 — Grand Illusion is the masterpiece that earned Jean Renoir enormous acclaim in the United States, exciting the admiration of President Franklin D. Roosevelt and running for 26 weeks in New York after its opening in September 1938. Banned in Italy...
Nov 15, 2018 — In two made-for-television productions, a middle-aged Ingmar Bergman blurred the boundaries between screen and stage.
Features
Dec 20, 2017 — In her latest column, critic Imogen Sara Smith explains how cinematographer Henri Decaë brought a risk-taking spirit and seductive allure to some of the most iconic French crime films.
Jun 24, 2002 — Oscar Wilde’s play is brought to the screen lovingly and meticulously by one of the great eccentrics of the British cinema, Anthony “Puffin” Asquith.